Shir Lusky’ exhibition Out of Touch was forged out of a deceptive and complex relationship between photography and sculpture, between flat image and three-dimensional material. Through the dialogue between them, Lusky introduces us to the possibilities of a vague physical existence, partially real, both tangible and hidden. The same blurry space appears frequently in Lusky's photographs, which trace material disturbances: openings, fragments, windows, holes and potholes. Through these images, she is seeking the possibility to go deeper, to go through, to immerge on the other side of things. This is an attempt to dismantle the partition between the inside and outside, trying to allow the two separated sides to drip over through the concrete, steel and plaster barriers.

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Lusky’s photographic world of images seeks to rearrange the relations between strata and superficiality, openings and obstructions. By relating to their dual nature, Out of Touch allows us to reflect on existential validity stemming from the creation of an image – but also shattered through it. Thus, the exhibition demonstrates for us the gray area that exists between what we see in the world and what is really in it.